The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
This Book of Hours was created in Hainaut, France, ca. 1450-60. The first owner was likely female, as a female donor is depicted on fol. 13v. Perhaps among the most noteworthy components of the book is the heraldry present throughout. Armorial shields were added early and identified by Michel Pastoureau as arms of a member of the Buves family of Picardy. There are two heraldic coats of arms: the first is of two gold lions, the second remains unidentified. While the armorial shields are sometimes present as stand-alone images, the two are often juxtaposed below prayers, such as Matins in the Hours of the Virgin, Compline in the Hours of the Virgin, and the Office of the Dead.
Written in textura
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbold, Rebekah
Editor: Herbert, Lynley
Copy editor: Wallace, Susan
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Ransom, Allison
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
De Ricci, Seymour, and William J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 793, cat. no. 228.
Wieck, Roger S. Time Sanctified: The Book of Hours in Medieval Art and Life. Exhibition catalogue. Baltimore: Walters Art Gallery. NY: George Braiziller, 1988; cat. no. 40, figs. 12, 89, 114.
Purtle, C. J. The Iconography of Prayer, Jean de Berry, and the Origin of the Annunciation in the Church. Simiolus 20/4 (1990/91): figure 15, fols. 13v-14r, p. 239.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, part 2, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 66, 143, cat. no. 112, 129.
Sponsler, Claire. Drama and Resistance: Bodies, Goods, and Theatricality in Late Medieval England. Minneapolis, MN: University of Minnesota Press, 1997; p. 191 (n. 50).
Wieck, Roger S. “The Death Desired: Books of Hours and the Medieval Funeral.” In Death and Dying in the Middle Ages. Edited by Edelgard E. DuBruck and Barbara I. Gusick, 431-476. New York: Peter Lang, 1999; pp. 437 (as fig. 17), 439 (as fig. 17), 447 (n. 17), 465 (fig. 17).
Havice, Christine. “Approaching Medieval Women Through Medieval Art.” In Women in Medieval Western European Culture. Edited by Linda E. Mitchell, 345-386. Oxford: Taylor and Francis Publishing, 1999; pp. 356 (as fig. 4), 373, 377 (fig. 4).
Noel, William. "Books in the Home: Psalters and Books of Hours." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 57-67. Turnhout, Belgium: Brepols, 2002; pp. 66 (fig. 13), 67.
Schwarz, Michael V. Visuelle Medien im christlichen Kult: Fallstudien aus dem 13. bis 16. Jahrhundert. Vienna, Cologne, and Weimar: Böhlau, 2002; pp. 156, 158 (Abb. 17), 160.
Gathercole, Patricia M. The Depiction of Angels and Demons in Medieval French Manuscript Illumination. Lewiston, NY: Edwin Mellen Press, 2004; p. 20.
Randall, Lilian M. C. “Frontal Heads in the Borders of Parisian and South Netherlandish Books of Hours, ca. 1415-60.” In Tributes in Honor of Jonathan J. G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art, and Architecture. Edited by Susan L’Engle and Gerald B. Gest, 249-268. Turnhout, Belgium: Harvey Miller Publishers, 2006; pp. 256, 259, fig. 8.
Reinburg, Virginia. French Books of Hours: Making an Archive of Prayer, c. 1400-1600. Cambridge and New York: Cambridge University Press, 2012; pp. ix, 216, 217.
Gathercole, Patricia M. The Depiction of Clothing in Medieval French Manuscripts. Lewiston, NY: Edwin Mellen Press, 2008; frontispiece (fol. 13v), p. 76.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
Hainaut
Ca. 1450-60 CE
book
Non-original Binding
Nineteenth-century Belgian (?) binding; pale maroon velvet (worn) over wooden boards; spine rounded and backed; gilt edges; seventeenth- or eighteenth-century silver clasps and catches, possibly transferred from original binding; "R F" hallmark appearing on all four plates; "Die werke Rinjes" engraved on the inside of clasps (on top, in neat cursive); surfaces of both catches can be seen inside covers stamped with the circular hallmark of "H R" surmounted by a four-petal floret that resembles the mark of Hendrik Beerns Ronner, who was active in Dokkum, Friesland, ca. 1738-52
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600).
Created ca. 1450-60 in Hainaut; style, linked with that of northern France and Mons, suggests the manuscript was intended for use in the diocese of Cambrai
Female first owner is depicted on fol. 13v; it is possible that there is a reference to the original owner in the small coats of arms of d'or au chevron d'azur that are on the pall and candlesticks in the miniature on fol. 86r
Owned by a member of the Buves family of Picardy, suggested by a coat of arms on fol. 37v, identified by Michel Pastoureau
Fragment of a nineteenth-century book catalog in file lists manuscript as no. 1161 and marks it "sold"; listing for book labeled 1889 on other side of fragment provides terminus post quem for sale, suggesting auction took place between 1889 and 1891
Brayton Ives, New York City, no. 625 in his sale on March 6, 1891, at American Art Galleries; sale number written in pencil on front pastedown
Marshall C. Lefferts, New York City, gold and white monogram on leather ticket fixed to the top left on the front pastedown
H. Richmond, New York bookseller, 1901
Henry Walters, Baltimore, likely purchased from Richmond between 1901 and 1931
Walters Art Museum, 1931, by Henry Walters' bequest
Hainaut
Ca. 1450-60 CE
book
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600).
Created ca. 1450-60 in Hainaut; style, linked with that of northern France and Mons, suggests the manuscript was intended for use in the diocese of Cambrai
Female first owner is depicted on fol. 13v; it is possible that there is a reference to the original owner in the small coats of arms of d'or au chevron d'azur that are on the pall and candlesticks in the miniature on fol. 86r
Owned by a member of the Buves family of Picardy, suggested by a coat of arms on fol. 37v, identified by Michel Pastoureau
Fragment of a nineteenth-century book catalog in file lists manuscript as no. 1161 and marks it "sold"; listing for book labeled 1889 on other side of fragment provides terminus post quem for sale, suggesting auction took place between 1889 and 1891
Brayton Ives, New York City, no. 625 in his sale on March 6, 1891, at American Art Galleries; sale number written in pencil on front pastedown
Marshall C. Lefferts, New York City, gold and white monogram on leather ticket fixed to the top left on the front pastedown
H. Richmond, New York bookseller, 1901
Henry Walters, Baltimore, likely purchased from Richmond between 1901 and 1931
Walters Art Museum, 1931, by Henry Walters' bequest
This Book of Hours was created in Hainaut, France, ca. 1450-60. The first owner was likely female, as a female donor is depicted on fol. 13v. Perhaps among the most noteworthy components of the book is the heraldry present throughout. Armorial shields were added early and identified by Michel Pastoureau as arms of a member of the Buves family of Picardy. There are two heraldic coats of arms: the first is of two gold lions, the second remains unidentified. While the armorial shields are sometimes present as stand-alone images, the two are often juxtaposed below prayers, such as Matins in the Hours of the Virgin, Compline in the Hours of the Virgin, and the Office of the Dead.
Written in textura
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbold, Rebekah
Editor: Herbert, Lynley
Copy editor: Wallace, Susan
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Ransom, Allison
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
De Ricci, Seymour, and William J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 793, cat. no. 228.
Wieck, Roger S. Time Sanctified: The Book of Hours in Medieval Art and Life. Exhibition catalogue. Baltimore: Walters Art Gallery. NY: George Braiziller, 1988; cat. no. 40, figs. 12, 89, 114.
Purtle, C. J. The Iconography of Prayer, Jean de Berry, and the Origin of the Annunciation in the Church. Simiolus 20/4 (1990/91): figure 15, fols. 13v-14r, p. 239.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, part 2, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 66, 143, cat. no. 112, 129.
Sponsler, Claire. Drama and Resistance: Bodies, Goods, and Theatricality in Late Medieval England. Minneapolis, MN: University of Minnesota Press, 1997; p. 191 (n. 50).
Wieck, Roger S. “The Death Desired: Books of Hours and the Medieval Funeral.” In Death and Dying in the Middle Ages. Edited by Edelgard E. DuBruck and Barbara I. Gusick, 431-476. New York: Peter Lang, 1999; pp. 437 (as fig. 17), 439 (as fig. 17), 447 (n. 17), 465 (fig. 17).
Havice, Christine. “Approaching Medieval Women Through Medieval Art.” In Women in Medieval Western European Culture. Edited by Linda E. Mitchell, 345-386. Oxford: Taylor and Francis Publishing, 1999; pp. 356 (as fig. 4), 373, 377 (fig. 4).
Noel, William. "Books in the Home: Psalters and Books of Hours." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 57-67. Turnhout, Belgium: Brepols, 2002; pp. 66 (fig. 13), 67.
Schwarz, Michael V. Visuelle Medien im christlichen Kult: Fallstudien aus dem 13. bis 16. Jahrhundert. Vienna, Cologne, and Weimar: Böhlau, 2002; pp. 156, 158 (Abb. 17), 160.
Gathercole, Patricia M. The Depiction of Angels and Demons in Medieval French Manuscript Illumination. Lewiston, NY: Edwin Mellen Press, 2004; p. 20.
Randall, Lilian M. C. “Frontal Heads in the Borders of Parisian and South Netherlandish Books of Hours, ca. 1415-60.” In Tributes in Honor of Jonathan J. G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art, and Architecture. Edited by Susan L’Engle and Gerald B. Gest, 249-268. Turnhout, Belgium: Harvey Miller Publishers, 2006; pp. 256, 259, fig. 8.
Reinburg, Virginia. French Books of Hours: Making an Archive of Prayer, c. 1400-1600. Cambridge and New York: Cambridge University Press, 2012; pp. ix, 216, 217.
Gathercole, Patricia M. The Depiction of Clothing in Medieval French Manuscripts. Lewiston, NY: Edwin Mellen Press, 2008; frontispiece (fol. 13v), p. 76.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
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